I have no idea where or when I have previously heard Carla Bley’s lovely tune “Ida Lupino,” but this homage to the British American movie actor, director and producer was immediately familiar to me as soon as I heard Ingrid Jensen’s version. I knew the Canadian trumpeter Jensen from her membership with the pioneering modern women’s jazz ensemble Artemis, but this superb album is my first exposure to her as a leader.
Landings is one of five albums celebrating Newvelle Records’ tenth anniversary, which they’re calling the Newvelle Ten Collection. They all have lovely new artwork by internationally celebrated artist Ragnar Kjartansson, “highlighting Newvelle’s dedication to pairing music of depth and daring with striking visual art.”
The lineup of this quartet is a bit unusual, with Jensen on trumpet joined by her longtime collaborator Gary Versace on organ, plus Marvin Sewell on guitars and Jon Wikan on drums. That make for some very interesting and engaging textures and colors in these selections that also have lots of melody and swing. I love the loose Latin vibe they bring to “Ida Lupino,” which truly shows off this quartet’s intimate connections, plus it’s such a lush, romantic tune.
But it’s just one of eight tracks, all deserving notice. It kicks off in a rush with the soulful “Amsterdam After Dark” by George Coleman, with the 89-year-old tenor blower guesting on the track. It’s got a real ’70s soul jazz vibe to it anyway, and Versace’s organ only enhances the effect.
Other than the final track, “Home,” by the late trumpeter Jim Knapp, the rest are by the band: three by Jensen, one by Versace and one by guitarist Sewell. Jensen slows things down after that lively opener with her composition “New Body,” on which the leader prominently solos throughout as the guitar and organ vamp. Versace slides onto the piano stool as the two duet on her moody, questing “Handmaidens Tale.” Her spacy “Landings” finds everybody in improv mode.
Sewell and his guitar move to center stage on his lightly swinging waltz “The Workers Dance,” with some spiffy guitar-trumpet unison sections interspersed among the solos. It’s back to soulsville on Versace’s “Many Homes Many Places,” Jensen blowing through an unusual mute for a slightly warm, foggy effect; Versace gives the bass pedal a workout on this funky tune. And that Jim Knapp closer is truly lovely, with Jensen returning to the mute, playing lots of duos with Sewell among the solos.
Landings is a deceptively languid affair, with lots of tension and release lying in wait just under the seemingly placid surface. This album works as calming background and also rewards close attention. The spirit of collaboration imbues it with a hopeful and friendly vibe throughout.
(Newvelle, 2026)
